Liebestod The smell of blood does not leave my eyes Juan Belmonte - HDT III
More than an art, bullfighting was for Juan Belmonte a spiritual exercise, elevating emotions into an infinite space, into eternity. This ceaseless research for tragic beauty, an attempt to communicate directly with the sacred, is present as much in the work of the bullfighter as on Angélica Liddell’s stage. “I’m always looking for the sublime moment, for transfiguration, for overflowing enthusiasm, for radiance and light, this lyrical transport which takes place when one loves”, Angélica Lidell says.
Liebestod is therefore much more than an epic of bullfighting; the show becomes an offering, “it’s the work of a woman in love, a mortal woman. It’s also an immolation”.
(read more after the quote)
'Profound, essential, and unmistakably political (...) Without embellishment or artifice. In one word: heartbreaking'Scèneweb
Juan Belmonte (1892-1962), the "divine stutterer" from the Triana district of Seville, is considered the creator of spiritual torero. He lived obsessed with the death of of Joselito in the bullring. His phrase "We fight as we are" sums up his philosophy. His suicide tells us about the feeling of "no longer being able to live" that Emil Cioran describes in On the Heights of Despair.
Liebestod, the title of the climax of Richard Wagner’s 1865 opera Tristan und Isolde, literally means “love death”. The composer wrote the music for his own poetic rewriting of the medieval Celtic legend. The word 'Liebestod' refers to the theme of the eroticism of death or of “love till death”, with the idea that the consummation of the couple’s love takes place in death, or even after it.
The Spanish performance artist Angélica Liddell is known for her unconventional and visually stunning works about the violence of the world, in which she often explores the limits of her own body. Her plays have been shown all over the world, on international festivals like F.I.N.D. (Berlin) and Festival d’Avignon. For her work she has received several awards like the Silver Lion at the Venice Biennale.
'Angélica Lidell no longer makes theater, she is theater'Les Echos - Philippe Chevilley
- 14 Jul 21 — AFP - "Angélica Lidell: elektroshock op theaterfestival Avignon" - (interview)
- 12 Jul 21 — Deutschland Funk Kultur (DUI) - "Kunst bestaat om de orde te verstoren" - (recensie 'Liebestod')
- 12 Jul 21 — Les Echos (FR) - "Festival D'Avignon : Angélica Liddell, l'amour à mort"
- 12 Jul 21 — El Pais (SP) - "Angélica Lidells stierengevecht brengt Avignon in vervoering" - (recensie 'Liebestod')
- 9 Jul 21 — Libération (FR) - "A Avignon, la transe de travers d’Angélica Liddell" - (over 'Liebestod)
- 9 Jul 21 — Scèneweb (FR) - "En un mot: bouleversant" - (recensie 'Liebestod')
- 6 Jul 21 — The New York Times (ENG) - "For This Spanish Provocateur, Each Performance Is About Survival" - (portret Angélica Lidell)